Just like 2020 and 2021, 2022 was a challenging year for all of us. Despite the ongoing COVID-19 situation, international travel and trade shows started to resume, and even though a shortage of key components is still affecting most manufacturers we still saw a ton of new products come to market.
So what are our favorite products of 2022? Well, Erik and Matt have assembled a list of what most impressed them during 2022. Their picks are personal choices based on what gear is relevant and useful for the type of work they do. At least in our opinion, it is impossible to award best products, because people’s needs and requirements differ so much. What might be a great product for you won’t be a great product for someone else.
We would also love to hear from our readers as to what their favorite products of 2022 were. Feel free to tell us in the comments section what your personal favorites were.
Now, the criteria for these selections were as simple as following one rule:
- The product had to be announced for the first time in 2022, and preferably has already started shipping. Due to the global chip shortage and other issues, I am going to give a pass to some products that were scheduled to be shipped but are now delayed.
Erik and Matt have both picked a winner and one or two honorable mentions. Just to be crystal clear, these selections are personal choices otherwise they may have still been debating (or arguing!) over the winner of each category.
The categories are:
- Digital Cinema Camera
- Budget Digital Cinema Camera
- Mirrorless Hybrid Camera
- Light
- Lighting Accessory
- Lens
- Audio Product
- Camera Accessory
- Camera Support Device
- Innovation
- Software
Favorite Digital Cinema Camera
MATT’S PICK: ARRI ALEXA 35
In June ARRI unveiled the ALEXA 35, a new Super 35 digital cinema camera with 17 stops of dynamic range and a host of new features that are all aimed to provide the best possible image quality.
The ALEXA 35 has big shoes to fill as it is the first ARRI camera to feature a sensor that isn’t based on the ALEV-III. The ALEV-III has been used in various forms in every single ALEXA camera since 2010. The ALEXA 35 represents the next big step for ARRI in the evolution of the ALEXA family.
ARRI has never followed what others are doing. They run their own race and that shows in the products they release. While everyone was thinking that Super 35 was on the way out, ARRI determined that was a need in the market for it, and guess what, they were right. Despite all the nay-sayers stating that nobody is going to buy an S35 camera, the ALEXA 35 is so heavily back-ordered that if you order one today you won’t see it till 2024.
MATT’S HONORABLE MENTION: RED DIGITAL CINEMA V-RAPTOR RHINO 8K S35 Camera
Yes, another S35 camera. The V-RAPTOR S35 is bound to be very popular with wildlife shooters who need to capture high resolution at long focal lengths. The BBC Natural History unit utilizes a lot of RED cameras and they have almost certainly already placed orders.
The camera features an S35 35.4 Megapixel CMOS sensor with dimensions of 26.21 mm x 13.82 mm and you can use it with lenses that cover up to a 29.63mm image circle. The sensor is actually a little bit smaller than the 27.99 x 15.75 mm sensor that is used in the ARRI ALEXA 35. RED claims the camera has 16.5 stops of dynamic range.
The V-RAPTOR S35 features an integrated RF mount and it is also compatible with Canon RF to EF mount adapters. With an RF mount, you can also use a variety of adapters to put various different lenses on the camera. Again, it is interesting to see RED bringing out RF mount high-end digital cinema cameras and not Canon.
ERIK’S PICK: ARRI ALEXA 35
S35 is not dead, and ARRI, with the all-new ALEXA 35, proves it. The camera with its new sensor is so back ordered you probably couldn’t get one in 2023.
ERIK’S HONORABLE MENTION: Z Cam E2-F6 Pro
Z Cam took the E2 F6 and made some improvements. A few nice features are the F6 Pro has both HDMI and 12G SDI, Genlock plus Timecode, and for power, it now uses a V-Lock battery as opposed to a Sony L type. Since it’s a small form factor, the new 5″ touchscreen monitor also has camera controls. This is a big one as the menu system can be a bit rough to work with.
The F6 has been used in high-budget films alongside other cinema cameras in To Gun and the new Mission Impossible. The camera is getting some attention.
Favorite Budget Digital Cinema Camera
MATT’S PICK: Sony FX30
There seems to be a trend here. I have chosen yet another S35 camera, the Sony FX30. The new FX30 is Sony’s entry-level digital cinema camera and essentially it is a baby FX3 with an APS-C sensor. It features all of the same recording options, codecs, framerates, etc. that are found in the FX3.
Yes, it is perhaps a stretch to call this a digital cinema camera, but none the less I made it my pick in this category.
ERIK’S PICK: Sony FX30
I have to agree with Matt here as the FX30 is a cool release, and if you already are in the Sony Cinema Camera ecosystem, this little beast will fit in well. Small and light make the camera very useful for gimbal work and other scenes that require a small package.
Favorite Mirrorless Hybrid Camera
MATT’S PICK: Canon EOS R5 C
Earlier in the year, Canon unveiled the EOS R5 C. The R5 C is essentially a slightly more video-centric version of the R5 that was announced in 2021 but with a few key differences.
The R5 C fills the gap between the R5 and the C70 in Canon’s line-up. In a lot of ways, it is a hybrid mix of both of those cameras. While it isn’t a massive departure away from the R5, it arguably adds enough new functionality to make it more suitable for video shooters.
The whole concept behind the R5 C was to make a camera that doesn’t compromise on stills or video performance. Usually, with most hybrid mirrorless cameras they are stills cameras first and foremost that can also shoot video. Canon set out to change this and their goal was to create a camera that catered to both disciplines equally.
MATT’S HONORABLE MENTION: FUJIFILM X-H2S
Yet another S35 camera! The FUJIFILM X-H2S, at least in my opinion, offers a very good balance of still and video performance, all in an affordable package.
The X-H2S includes an all-new APS-C sensor that features Fujifilm’s 26.16MP X-Trans CMOS 5 HS sensor, which is a stacked, back-side illuminated imaging sensor with a signal reading speed up to four times faster than Fujifilm’s previous X-Trans CMOS.
One thing we see a lot more in hybrid cameras is an impressive boost in video features. The Fujifilm X-2HS is taking a massive jump with internal 10-bit 4:2:2 ProRes 422 and ProRes HQ recording and not one but both ProRes Raw and Blackmagic RAW external recording via the full-size HDMI. Impressive indeed. For ProRes RAW, You will need to use the Atomos Ninja V or Ninja V+. To record BRAW, a Blackmagic Design Video Assist is required. It also has F-Log and F-Log2, which Fujifilm states provide a dynamic range of up to 14+ stops.
Up to 90 minutes of footage can be internally recorded with a single battery at a wide range of resolutions and frame rates up to 6.2K/30P in Open Gate 3:2, 4K/120P, and Full HD/240P.
ERIK’S PICK: Fujifilm X-H2s
Fujifilm did something special here with the X-H2s. Full-frame sensor cameras are all the rage these days, and Fujifilm has been overperforming with the APS-C or S35 format for many years. The only thing that holds them back, in my opinion, was the autofocus. While I haven’t used the camera, reports are that it is much better.
For the money, it punches way above its weight. Onboard codecs and video-friendly features are impressive, oh and it’s a stills camera too! 🙂
ERIK’S HONORABLE MENTIONS: Sony FX30
The Sony FX30, like FX3, is a video camera that takes stills. It is an interesting camera. While it still doesn’t have an EVF, it offers plenty of video-friendly features, including the hot shoe that allows the use of a xlr module. It was tough as I really like the Canon R5c as well. It’s been a crazy good year for cameras.
Favorite Light
MATT’S PICK: Prolycht Orion 675 FS
Lighting is a very hard category. I reviewed a lot of lights this year and picking just two was a tall order. My winner is the Prolycht Orion 675 FS. Its versatility, color accuracy, power draw, build quality, and output make it hard to beat. I can use it as a soft light, hard light, attach a Fresnel or projector and create or mimic just about any lighting source you can imagine.
The Orion 675 FS is a very solid offering that doesn’t have a lot of weaknesses. While other lights may offer similar performance, the attention to detail is what makes it stand out from the competition.
MATT’S HONORABLE MENTION: Z CAM ZOLAR 1×1 LED Panel Lights
This one may come as somewhat of a surprise. The dark horse light of the year to me was the Z CAM ZOLAR 1×1 LED Panel Lights.
The Z CAM ZOLAR Toliman 30S, Toliman 30C and Vega 30C are all 1×1 panels. Now, you may be thinking, it’s just another 1×1 panel light, I am not interested. However, these lights really surprised me and they have some very interesting functionality. They were also the first lights I have seen that can properly recreate a daylight spectrum.
The ZOLAR 1×1 panels are impressive offerings. They are feature-rich fixtures with very great color accuracy and color rendering and good build quality. They have a decent amount of output which makes them versatile solutions for lots of different applications, and they can be run at full power via flight-safe batteries.
The build quality, exceptional color accuracy, and different ways of powering and controlling the lights are something no other manufacturer is doing at this level of affordability.
The ZOLAR fixtures represent incredibly good value given their performance and feature set, and if you were in the market for 1×1 panels then I don’t think anything else comes close to the price of these fixtures.
ERIK’S PICK: Z CAM ZOLAR 1×1 LED Panel Lights
I never thought Z Cam would be making lights, but hey! ARRI also has impressive products in more than one space, so it makes perfect sense.
As Matt mentioned, the Zolor fixtures have good output and excellent color that works at 100% output with cheaper batteries. This is a must if you need to use lights remotely, and a lot of brands have high power draws.
ERIK’S HONORABLE MENTIONS: Aputure MT Pro
The Aputure MT Pro is a new product line for Aputure. It’s a one-foot 7.5W output Pixel-Mappable RGBWW Mini Tube LED light. It features 36 pixels in the 1′ tube. That’s a lot of pixels!
Tube lights have really taken off, and the multi-pixel ones are really looking interesting. I’m sure we will see more from Aputure in the tube design in 2023.
Favorite Lighting Accessory
MATT’S PICK: Core SWX APEX 360 Battery Solutions
With a lot of high-voltage LED lighting products continuing to be released there is a real need in the market for better remote powering solutions. That’s where Core SWX’s APEX 360 battery packs come in.
The APEX packs offer a 367Wh Lithium-ion V-mount solution capable of outputting up to 24A continuously as well as providing extended runtimes.
The Apex packs are offered in both a 14.4V (APX-360v) version which is suitable for most lights as well as a higher voltage 29.6V variant (APX-360hv).
The high voltage APX-360hv is capable of delivering even more power under lower current requirements allowing for a more efficient, cooler operation of LED lights that accepts higher voltages (voltage acceptance is up to DC 34V).
MATT’S HONORABLE MENTION: DoPchoice Rabbit Rounder Universal
I really like this system as it allows you to mount a variety of DoPchoice SNAPBAG Octas, rectangular soft boxes, and Lanterns to a range of COB fixtures from companies such as Aputure, Fiilex, Nanlux, Prolycht, etc.
MATT’S HONORABLE MENTION: ARRI Orbiter Fresnel Lens
The Orbiter Fresnel Lens can create a precise light spot with a soft single shadow, and it delivers a true Fresnel output with a real Gaussian field of light. ARRI states that the output of Orbiter with Fresnel lens is comparable to the ARRI L-Series L10 and True Blue ST2/3 with 2000 W Tungsten bulb.
Good Fresnels require a large aperture and a wide zoom range. Despite its large aperture, the Orbiter Fresnel lens housing is compact (approx. 340 mm x 380 mm x 370 mm / 13.4 in x 15 in x 14.6 in) and lightweight (~ 4.5 kg / 9.5 lbs.). Its lens diameter of 285 mm (11.2 in) equals that of the True Blue ST2/3 and T5.
What is interesting is that the large zoom range of 15 to 65° is fully motorized and can be precisely positioned while being controlled locally via Orbiter’s Control Panel or remotely by DMX/RDM or IP based (ArtNet or sACN). As far as I am aware, I don’t know of any other fresnels like this that are motorized.
ERIK’S PICK: Swit HB-C420S
It’s finally happening! Batteries made for lights are something we have all been waiting for. Today’s LED lights are capable of a lot of output, and powering these beasts requires a matching battery, or you end up at 50% output or just not being able to use them remotely without a generator. Things are going to heat up in this space in 2023.
Favorite Lens
MATT’S PICK: Cooke S8/i Full Frame (FF) series
There were a lot of lenses released in 2022 and this category was a hard one for me to pick. I ended up selecting the Cooke S8/i Full Frame (FF) series. I mean what is not to like! A fast T1.4 aperture, the famous ‘Cookie Look’ and they come in a comprehensive set.
MATT’S HONORABLE MENTION: Great Joy 1.8x Full Frame Anamorphic lenses
I would have chosen the Atlas lens Co. Mercury series and Viltrox 1.33x Full Frame Anamorphic lenses as my honorable mention, but neither is scheduled to be available till next year so they didn’t fulfill the criteria for selection. Instead, I went with the Great Joy 1.8x Full Frame Anamorphic lenses. This might seem like a strange choice, but I really liked these lenses, despite their inconsistencies and quirks.
While all three focal lengths (35/50/85mm) have slightly different looks they have a nice organic and interesting look to them. They are far from perfect optically and mechanically, but they have those intangibles that a lot of people are looking for with anamorphic lenses. The best part is, they are incredibly affordable.
MATT’S HONORABLE MENTION: CHIOPT XTREME Zoom 75-250mm T3.2
I chose a second honorable mention in this category which was the CHIOPT XTREME Zoom 75-250mm T3.2. The CHIOPT XTREME Zoom 75-250mm T3.2 is an interesting lens because it provides a focal range that no other affordable cine lens manufacturer is offering.
A lot of factual shooters who were using DSLR or mirrorless cameras used to almost always have a 70-200mm in their kit bag. Canon’s EF and RF mount 70-200mm lenses are still extremely popular with shooters and why nobody has recognized this and made an affordable cine version up to now is a head-scratcher. Yes, there have been companies like G.L Optics who were rehousing the Canon 70-200mm, but no one has made a ground-up cine lens with this range that is affordable. If you have plenty of cash to spend there is the Fujinon Premista 80-250mm T2.9-3.5, Zeiss 70-200mm T2.9 Compact Zoom CZ.2 Lens, and Cooke 85-215mm Varotal/i Full Frame Zoom Lens, but all of those options are not lenses a lot of people can afford to buy.
The lens is optically pretty good, and although the image quality isn’t going to be quite as good as lenses that cost significantly more money, it represents excellent value for money. There are no shortcuts with optics and in most cases, you really do pay for what you get, however, CHIOPT has done a very good job with the 75-250mm T3.2 considering its relatively low price.
The mechanics of the lens are pretty good and it has minimal real-world chromatic aberration. The focus breathing is fairly pronounced, but that is true of quite a few long zooms.
The 75-250mm T3.2 has a nice focal range and it works well on both Super 35 and full-frame sensors. This makes it a very versatile lens.
ERIK’S PICK: Laowa FF 24mm T14 2X Macro Periprobe
The Laowa FF 24mm T14 2X Macro Periprobe is one of those specialty lenses that you probably won’t use all that much, but when you do, it adds incredible production value. Yes, the prob lens isn’t totally new, but I like that Laowa is improving and building on the line-up.
What makes the Laowa FF 24mm T14 2X Macro Periprobe even more unique and interesting than the 24mm f/14 2x Macro Probe is that it uses an interchangeable lens tube that allows you to shoot at 0° or 90°. This opens up a world of creative opportunities that weren’t possible with the previous lens.
Favorite Audio Product
MATT’S PICK: ARRI Audio Extension Module AEM-1 for ALEXA 35
I picked the ARRI Audio Extension Module AEM-1 for ALEXA 35. This is made specifically for ARRI by Sonosax. Again, this may seem like a strange choice, but adding high-quality onboard audio capabilities to a top-tier digital cinema camera is a rarity. It allows smaller-sized crews or solo operators to use the ALEXA 35 in the same way they would an Amira.
The AEM-1 adds a lot more audio capabilities to the ALEXA 35. It is a streamlined module that is internally powered so it requires no cables or extra brackets to use.
It features the following:
- 2x Mini-XLR for analog MIC/LINE in with optional 48 V Phantom power for MIC in, and Phase reversal, adjustable low-cut filter, gain and limiter
- 1x Mini-XLR for AES stereo digital audio in
- 1x Headphones
- 1x Regulated 12V accessory power
- 1x Regulated 24V accessory power
- Dynamic range: 129 dB (MIC), 135 dB (LINE)
- Total Harmonic Distortion (THD): < 0.001%
- Best studio audio quality to match the best image quality
MATT’S HONORABLE MENTIONS: Lectrosonics DSR Dual-Channel & DSR4 Quad-Channel Digital Slot Receivers
The Lectrosonics DSR and DSR5P dual-channel and DSR4 quad-channel digital slot receivers are not only compatible with all the current Lectrosonics mono and stereo digital transmitters, but they are also backward compatible with any of the Digital Hybrid Wireless transmitters made in the past 20 years.
The DSR and the DSR5P receivers give you two independent receiver channels and the DSR4 provides four independent receiver channels. Lectrosonics states that they provide the highest level of RF and audio performance available, with versatile feature sets and next-generation capabilities in the Unislot/Superslot form factor for ENG (Electronic News Gathering), field, and location production.
ERIK’S PICK: Lectrosonics DSR4 Quad-Channel Digital Slot Receivers
The DSR4 Quad Channel Digital Slot Reciever is impressive. Being able to use older Lectrosonics transmitters with the new system is a huge plus if you want to get more use from them and the ability to have four channels of audio makes ENG work much easier. All in a small slot design is very cool.
ERIK’S HONORABLE MENTIONS: Deity TC-1 Timecode Box
Timecode makes Multicam shooting and external audio recording a must. Unless you like searching manually for syncing. Deity TC-1, while not being revolutionary, offers a different take to the TC box with an easy-to-use menu system that includes an on-board menu LCD screen to make settings on the unit instead of only using an app. The kit comes with a set of cables to get you on your way to TC generation via LTC or direct connection with TC-enabled cameras and devices such as TC slates like the new Deity TC-SL1 Timecode Slate.
Favorite Camera Accessory
MATT’S PICK: SmallRig Multifunctional Modular Matte Box (114mm) Basic Kit
I would have picked the MOFAGE POCO PL to E/RF/L/Z Mount Adapter with Drop-in Filters but it won’t start shipping till next year. This is a really hard category because there are so many choices to choose from. I ended up choosing the SmallRig Multifunctional Modular Matte Box (114mm) Basic Kit because it is a universal, versatile, and inexpensive matte box solution.
The SmallRig Multifunctional Modular Matte Box (Φ114mm) Basic Kit is a solid offering, especially considering its low price. Its modular design and ability to be built up or broken down increase its appeal as you can use it with a wide variety of cameras and lenses.
It is hard to fault for $279 USD and it offers good value for money.
MATT’S HONORABLE MENTION: Accsoon SeeMo HDMI to USB Monitoring Adapter
The Accsoon SeeMo HDMI to USB Monitoring Adapter is an interesting little product that allows you to use your iPhone or iPad as a monitor.
This is not the first time we have seen devices that allow you to use a smartphone or tablet as an on-camera monitor. The Z CAM IPMAN Gemini and even Accsoon’s own M1 HDMI to USB-C On-Camera Video Monitor Adapter Cable for Android Smartphones have been able to do this previously, but only when using Android phones. To my knowledge, this is the first affordable device that lets you do it with an iPhone.
ERIK’S PICK: OSEE Megamon 15 15″ Monitor
Field monitors have come down in price a lot in the last year, and the image quality has also improved. The OSEE Megamon 15 15″ HD monitor is the first 15″ monitor I have used, and for field production, it’s a great size at a great price. The Megamon 15 retails for $899 USD.
You might be thinking this isn’t a new release however it is version 2, but OSEE didn’t change the name. I know. Very confusing indeed. Some improvements are the V2 has a new 1000nit screen and the ability to color calibrate. It comes with a case that doubles as a hood and can be easily mounted on a light stand with the included light post mount. It has all the tools you need, plus the image is very nice and color accurate out of the box.
ERIK’S HONORABLE MENTION: Deity TC-SL1 Timecode Slate
A timecode slate isn’t for everyone but for bigger projects that use two system audio or external audio recorders, you will need proper timecode for all the cameras and audio gear. Having a slate for visual reference is just the icing on the cake. Pair the Deity TC-SL1 Timecode Slate with the Deity TC-1, and you have a powerful and affordable timecode system that can all be synced with an app or by using one unit as a master.
Favorite Support Device
MATT’S PICK: DJI RS 3 & RS 3 Pro
DJI’s new RS 3 and RS 3 Pro gimbals brought landmark improvements to the classic and reliable Ronin series. The RS 3 Pro can utilize the Ronin 4D’s advanced LiDAR focusing technology that has now been placed inside a new device called the DJI LiDAR Range Finder (RS).
Both the RS 3 and RS 3 Pro can also utilize DJI Transmission, DJI’s first independent wireless video solution that allows users of the RS 3 and RS 3 Pro to combine reception, monitoring, control, and recording in a single device. DJI Transmission has a claimed operating range of up to 3.78 miles / 6.08 km.
Essentially, just like they did with the Ronin 4D, DJI is creating an entire ecosystem for the RS gimbals. The idea is to no longer just make a gimbal and some accessories but to give users an entire ecosystem of products that can be used to enhance and make their workflows easier.
Both gimbals feature a new automated axis lock system, 3rd-Gen RS stabilization algorithm that is claimed to improve performance by 20%, and one-tap calibration.
MATT’S HONORABLE MENTION: Sachtler aktiv10T, aktiv12T & aktiv14T 100mm fluid heads
I like innovation and thinking outside of the box. In 2021 Sachtler announced its aktiv fluid heads, and then in 2022 they introduced the new aktiv10T, aktiv12T, and aktiv14T 100mm fluid heads.
These new additions to the lineup brought all of the same speed and control benefits of the aktiv fluid heads but allowed for much heavier payloads of up to 16kg / 35.27 lbs.
ERIK’S PICK: Sachtler aktiv10T, aktiv12T & aktiv14T 100mm fluid heads
I was late to the Sachtler aktiv party. This year I bought the flowtech 75mm tripod and aktiv8 fluid head. I LOVE this system. I also added the QR adapters so I can use the head on a slider as well. No more high hat or lesser-quality fluid heads.
With the new aktiv10T, aktiv12T, and aktiv14T 100mm fluid heads the line up is looking solid.
ERIK’S HONORABLE MENTIONS: Tilta Mini Articulating Arm
While the Tilta Mini Articulating Arm isn’t revolutionary, it is very handy and has a lot of options, and when I say a lot, I mean it. Since each piece can be swapped out, Tilta offers Nato, GoPro mount, 1/4 20″, 3/4″, Rosette, and more. It really is a well-thought-out multi-tool for mounting your kit.
MATT’S PICK: ARRI ALEV-IV Sensor
There was immense pressure on ARRI to come up with an entirely new sensor that was better than the ALEV-III. The ALEV-III exceeded ARRI’s greatest expectations and if you think that every ARRI camera released in the last 12 years has used a variation of the original ALEV-III sensor that is the ultimate testament to just how good it is.
In an age where technology continues to move rapidly, the fact that the ALEV-III sensor is still revered in the industry as the gold standard shows you just how right ARRI got it back in 2010. Because that sensor was so good, that is why ARRI continued to use it for so long.
can’t just magically pluck a sensor out of thin air and expect it to be better than the ALEV-III. ARRI tried numerous sensors until they eventually found the right one. The new ALEV-IV sensor is made by onsemi to ARRI’s design. onsemi has made every single CMOS sensor found in ARRI cameras dating back to the ARRIFLEX D-20.
The new ALEV-IV sensor that is in the ALEXA 35 was developed specifically for the Super 35 format and it utilizes a technology where the analog to digital converters actually sit on the sensor board. Previously ARRI always had two boards, a sensor board and a separate board that housed the analog to digital converters. Having the analog to digital converters actually sitting on the sensor board allows ARRI to shorten the high-frequency analog lines which in turn allows you to create a cleaner image with less line noise, and less fixed pattern noise. The caveat to doing this is that you can’t stitch a sensor board like this anymore, which is what ARRI was doing in the past with cameras like the ALEXA 65, ALEXA LF, and Mini LF. So ARRI can’t just stitch this new sensor to create a larger sensor.
The New Super 35 format native 4K 3:2 sensor allows you to shoot at up to 120 fps and it has 17 stops of dynamic range. 17 stops is a whopping 2.5 stops more than previous ARRI cameras and more than any other digital camera on the market today. These are actual stops of dynamic range and not claimed dynamic range numbers that some manufacturers like to throw around. ARRI has a history of accurately, or rather conservatively, measuring the dynamic range of its sensors.
Now, I have used this camera and I can tell you that I have never seen or used another camera that comes anywhere near what the ALEXA 35 is capable of. The sensor in this camera is simply phenomenal.
ERIK’S PICK: Swit HB-C420S
While batteries are the least sexy product you could possibly buy, we need them for pretty much everything in our kit. When it comes to lights with higher power draws over 300 watts getting those in the field without a battery block or generator wasn’t doable. The day has finally come with the Swit HB-C420S. They released a battery that is designed primarily for LED lights with high power draw and voltage requirements.
The Swit HB-C420S has a 500W constant high load and 650W peak load. With two HB-C420S, you can power the Aputure LS 600C PRO at 100% output for at least 1.2 hours.
Favorite Software
MATT’S PICK: DaVinci Resolve
The gift that keeps giving. It is truly remarkable what Blackmagic Design has done with DaVinci Resolve. It is continuously updated and improved and the capabilities and functionality that it possesses must make other software go and hide in a dark corner and start shivering uncontrollably.
It is also great to see that DaVinci Resolve is now able to run on the latest iPads.
MATT’S HONORABLE MENTION: SmallHD Page OS 5
This might seem like a strange choice for software (well it’s technically firmware!) but I chose SmallHD’s Page OS 5 operating system. At least, in my opinion, this is the best monitor operating system that is available. SmallHD continues to upgrade and improve it and Page OS 5 added a lot of new functionality and features.
ERIK’S PICK: Adobe Premiere Pro V23
Premiere Pro is finally a stable NLE for me. The updates have added features without making it unstable, as it has in the past. Adobe has updated the software now to give it better render speeds on the new M1 Max and M1 Pro computers, so all-around nice job, Adobe! With the integration of Frame io, sharing the edit with clients just got a lot easier, and with much better tools for the approval process.
The graphics integration is also much better in the new version.
ERIK’S HONORABLE MENTION: DaVinci Resolve for iPad Pro
This one came in under the wire! DaVinci Resolve for iPad Pro is now a full release. This is a big one, as they jumped the shark on Apple’s platform, leaving FCPX as a desktop-only app.
Will it be a viable editing software? I think it has its place, but more importantly, it exists and, with time, will only get better and more powerful. It’s big progress for iOS. Interestingly you can use the speed editor panel with it as well.
So there you have it; there are Matt and Erik’s favorite products of 2022. Again, these are very much personal choices and not products of the year. Please let us know what your favorite products of 2022 were in the comments section below.
Happy Holidays to all our readers and their families.
